Canadienne Roger Frechette.   “Sexy Sax”

(59 votes, average: 4.05 out of 5)

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“Jazz Eyes” Regent Records (a division of Savoy). Jazz by John Jenkins, Donald Byrd, Curtis Fuller, Tommy Flanagan, Doug Watkins and Art Taylor. Supervised by Ozzie Cadena. Recorded by Rudy Van Gelder. Album designed by Portrait Productions.

(40 votes, average: 3.58 out of 5)

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Deiter and Gunter are The Chalets. Two wild and crazy guys that hit pay dirt performing, then unknown, at the German Pavilion at the Montreal Expo of 1967.

(43 votes, average: 3.60 out of 5)

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“Anjos do Sol”   RGE Records

(34 votes, average: 2.97 out of 5)

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“Sick #2” Starring the Sicknicks with Will Jordan and Sandy Baron. Amy Records. Sick was the poor man’s MAD. A satirical humor magazine published from 1960 to 1980. “A magazine for those who can’t read” According to the liner notes there never was a “Sick #1.”

I’ll send a free LP Cover Lover T-shirt to the first person to identify 15 of the characters illustrated on the front and back covers.   Good luck!

(29 votes, average: 3.07 out of 5)

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Colorful Stylings by The Crusaders of Illinois and the Singing Midget. Crusade Records. The Singing Midget is familiar to many here as Mr. Lowell Mason, the world’s smallest gospel singer. (Soon I’ll share an album I have by the worldest largest gospel singer). Lowell is 46″ inch small but stands large for the Lord.

(64 votes, average: 4.20 out of 5)

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The Theme from the TV Show “Out Of This World”   Tony Hatch   PYE Records

(37 votes, average: 3.30 out of 5)

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Like a locomotive gobbling up the track or the head of a Roman soldier.   A perfect cover from Brazil –   “Aqui Comeca O Mundo Maravilhoso Da Musica”   “A Fantastica Orquestra De Studio De Cipo”

(25 votes, average: 3.96 out of 5)

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A Woody Allen impersonator. I think this is a Russian record of Yiddish comedy.   (Editor’s note:   It’s not!   See the helpful comments left.)

(41 votes, average: 2.93 out of 5)

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A nice illustrated cover by Ben Shahn (1898-1969). “Chicago Style Jazz” on Columbia.

Art, as I saw it one day when I helped hang a National Academy show while I was a student there, was about cows. In those days, early in the twenties, there were many cow paintings. More than that, the cows always stood knee-deep in purple shadows. For the life of me I never learned to see purple where there was no purple — and I detested cows. I was frankly distressed at the prospects for me as an artist.

But there came a time when I stopped painting, stopped in order to evaluate all these doubts. If I couldn’t see purple where there was no purple–I wouldn’t use it. If I didn’t like cows, I wouldn’t paint them. What then was I to paint? Slowly I found that I must paint those things that were meaningful to me–that I could honestly paint in the shapes and colors I felt belonged to them. What shall I paint? Stories. – Ben Shahn

Ben Shahn was an artist who spoke to the world. A man of uncompromising beliefs, he became the most popular artist of his age – his work was on the cover of Time as well as in the Museum of Modern Art.

Shahn came to prominence in the 1930s with “The Passion of Sacco and Vanzetti,” a politically pointed series about the Italian anarchists who many believed were framed for murder. He went on to paint murals and take photographs for the government during the New Deal, and to become a successful painter and commercial artist.

In 1956-57, Ben Shahn was the Charles Eliot Norton Professor of Poetry at Harvard University (poetry was broadly defined as “all poetic expression in language, music, or the fine arts.”) During that time he gave a series of lectures, later collected and published by Harvard University Press. The Shape of Content has been in print and widely read since its publication in 1957. In fact, many people come into contact with Shahn’s writing before they are aware of his art.

(40 votes, average: 4.03 out of 5)

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